“Never work with children or animals.” – W.C. Fields
Hell is other people, indeed…
Now, I’m quite sure Gregory Peck very likely wasn’t thinking of this well-aged quote while shooting The Omen, but I get a chuckle out of maybe thinking he was because he surely goes through all nine circles of Hollywood hell in dealing with his demon-bred son with the quirky birthmark (Harvey Spencer Stephens) and a couple of dogs that get to attack him (and his stunt double) with relish (or whatever it is dogs use as a condiment. Maybe… Chow Chow Picalilli?).
If his character had lived to be in the inevitable and somewhat silly (but still kind of scary) sequel, Damien: Omen II, I’m sure he would have also wanted to kill a few mockingbirds (a murder of crows, if you will) if one of them had ever decided to give him the old “good luck” airdrop plop, but (uh, spoiler alert?). he doesn’t live to see that happen (end spoiler). I’d make an Atticus F(l)nch joke here. but I don’t want to push my luck.
“Isn’t he a little angel?” Uh, not really. You’ll see…
Then again, there’s an air of bleak inevitability in Richard Donner’s film that pervades every frame and it’s not hard to see from the opening titles onward that Jerry Goldsmith’s sole Oscar winning score (more on that later) was predicting some very bad things to come. I was too young to see this back in 1976, but I recall a schoolmate telling me his parents took their four kids to see it and they were all traumatized to some extent, but it was all they talked about for weeks. As the family was pretty religious, my guess now is that was one surefire (heh) way of keeping them in church.